10.31.07 update

last week/10 days:
was formulating/gathering/writing/editing my paper.
with the mla/double space it works out to about a max of 2pgs or less. header/id info,title,etc eats up 1/5-1/4th pg, then to factor in structure requirements> footnotes/intro& conclusion paragraphs (3-5 sentences in general), leaves about 3 paragraphs for content. this means i have to be less wholistic & write about fewer aspects to a subject. this is ok as my next paper will cover the rest.
what is confusing is the examples give from aib.
for example:

"looking at trees"

• works out to 8-10 pgs in mla. not a fair example as it was highly personal narrative/journal-ish & less academic/distilled.
• no thesis statement is presented in the opening/intro paragraph & not really the 2nd either. never really clearly stated anywhere or proved.
  
• contains paragraphs that are basically book reading summaries rather than focus on what she got out of it & how it applied to her work.
• paragraphs are agenda based & are expected to validate/tie into thesis somehow. she didn't do this, she told a story>had a conversation.
  
• this was an enjoyable, personal journal/sharing type paper. yet does not seem to fit what is asked of me.
• think the mla structure just kicks me into formal essay structure & the whole "every essay is an argument" mode that forces the writer to take a position. i fought with this in critical theory/writing classes when it came to political/social issues where it was not black or white. i did well, yet felt like i was betraying my ethics in doing so.
• think this blog stuff: documents/fulfills the journal/research/mindset needs of this program & will just continue my papers as distilled/applied research & worry about it less.
  

this week:

• photographed 4 paintings for collage/totem & have numerous digital experiments of cutting/combining them together. think a totem needs to be a vertical composition. like the square visually, yet they do not transition from digital/geometric to paint/organic as well. think i am going with a sequential abstraction idea>used a system/formula to cut, rotate & reposition/integrate pieces to create a visual narrative & unitiy/logic. the version i am thinking of going with ends up being 4 vertical columns. i have created a low contrast bw gradient image from their source material that goes from light to dark & perspective(light top). this print will back the totem. plan to paint on/tint & fabric back. will be sort of a 90>120inch x30-36inch banner. it will be easy to ship. if the background does not fly i can cut it up or paint/take it elsewhere & then cut up/or not. plan to post the various totem digital scenarios soon. want feedback from glen/mentor first. he might have a better idea
  

• have been putting in long hours 15++ per day)on the computer. with the large file sizes the going is slow. i have been creating/editing paint/digital hybrid to print out.

• bought some sort of synthetic,rigid, 50% gray,45inch wide fabric at walmart for $1 a yd. the idea is to mount the next bw printout with mod podge(is acrylic/non yellowing/stable use for crafts/decoupage & works like, yet better than any of acrylic paint products. wish i could have got it in white. $ is an issue as all my numerous experiments are good size & getting costly(it is worth it>am learning a lot). may paint the backside of the fabric with white gesso after it is bound to the print & has had time to cure. weave in open(organza like) and without fuzzies. will test first as the gesso may tighten & pucker the stuff . think the white might shift the color on the grey. if the grey is even a problem.

• go to kinko print stuff today

• need to have all the new studio work done by nov 14!!! it is a huge amount of work> 10 new paintings (all over 36 inches) & is due 2 days before my next paper :( would have liked more than 2 weeks between these 2 papers.
  

• tonight is halloween & my aib adviser call. had i realized this i would have asked for another day as 6:30 in calif is prime time for taking my son around. my school stuff has been hard on him. wish i had family nearby for him to enjoy/experience/pick up the slack. single parenthood...
  

art showdown dvd

this was a new release dvd from netfliks. i had no idea what this was about prior to viewing. basically it is a low budget gameshow that revolves around art.

competitive catagories are:

auction price is right >contestants from the audience guess real auction prices of famous works
winner goes to spin the surreal wheel.

surreal wheel:
famous forgery> shown images & have to guess the authentic
schmooze and booze>contestants try to shmooze real life museum curators while gobbling cheese & drink (think it is something unpleasant). points for the amount of food/drink consumed as well as points given for smoozing by guest curator. for example the curator of the mit gallery
dead guys tell no lies> 3 true or false stories of how famous artists died .guess which one is true.
---
final 2 contestants:

art show down> two final contestants have to use 3ft+ stick with pencil to draw whatever image is drawn in one min. for example: nude descending a staircase.

shooting gallery> paintguns/10 shots at rotating carnival type targets of artists/people. points off for hitting rich republican patrons of the arts. points for all else.

brush with danger> house paintbushattached to helmet to be used to get paint on other contestant> winner is one wearing least amount of paint


theme of this show is cheesy western> thought it was texas based, it seems to be from boston. who'd a thought...?

was dumb -was meant to be.

winner won red sox tickets
runner up won harvard artshow tickets

did like guessing/knowing the art history, forge, auction $ questions

could have been a boston student/college produced show?

i pretty much rent any new dvd with the word "art" in it.
--
the other dvd i have to watch is called paradise found (not new) & is a speculative fiction/non-documentary movie about gaugain. started to watch & had to stop (family stuff). did not know that pizzaro went to figi & that they did not know/hear of each other beforehand.keifer sutherland play gaugain.
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e-topia

skimmed through the wiliam j. mitchell i got from the library to see if it offered any i could use. did not know what i was looking for, yet thought something might jump out at me. part of this effort is to be current, "of my time" as an artist. for me it makes sense to look at our "now" from the eyes/perspective of many. this book seemed to be an educated speculation of what's ahead & maybe offer some sort of tibit that could translate to image. i feel that even when i do not find anything that my efforts toward active awareness will manifest somehow. as for the art i am doing now i do not think anything is manifesting, yet may in the future. think it is the kind of a process of gathering and simmering for a time & at some point in the future it will hit. tends to happen this way for me with problem solving in general.

some of the forecasts:

• reduction of major cities & de-isolation of rural areas due to technology
  
• "wear ware" clothing/like or "body nets" that monitors health & personal data/id/remote communication
• buildings with "nervous systems"
• smart appiliances & sim stuff one would expect
• to me it reflected sci-fi forcasts>>> the whole "big brother" homgenized/beehive vision

--
wonder what the repercussions will be. the biological & social changes have been evident for a while, yet animals that we are we can only adapt at a reasonable rate. brain changes that show up in scans during watching tv, computer usage, electronic games have change the neurological connections/mapping/usage of our brains. this effects information process & lft/rt hemisphere dominance which affects skills, perception, communication and reduces some of the gender differences that had formed via functions. an example of this is typing. the physical process of doing so modifies the brain to balance hemisphere dominance to some extent through the mechanical process of using both hands (as does piano & such), typing was for secretaries, a woman's job, yet the computer has changed this as the male population now use keyboards often. not only do these changes show up in scan, but in brain autopsies as well. it is evolution.
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• 
  

10-26-07

busy art stuff day:

• finished & emailed aib paper
• delivered 2 paintings to a juried show
• picked up 2 painting from a juried show that ended
• went to 5 openings, including one of a group show that i had work in
• almost finished big painting i have been working on
  
• finished big frame i have been re-finishing
• put together 2 custom oak frames i bartered website work > one was too short!!!

--
Next:

• go to university (csumb) & print out new crit theory stuff & pick up copies of illustrations/graphic design stuff to use for my portfolio
• get prices from kinkos to see if my exhibit idea for jan 08 residency is affordable
• respond to louise' s email for space requests.
• get files together to go to kinkos for printing big bw
• shop around for cheap fabric to back paintings/bw printouts with>>>walmart?
  

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finish paint experiments with images from last mentor meeting in the next 3 days. need to do prior to going to kinkos in case i chose to edit files for some new direction.
--
post images if time permits!!!! too busy reading new crit theory + the last of my reading list, writing, painting.
--
next weekend: open studio sf/hunters point

wed 14th: next painting crit with mentor at sfai

update: 10-21-07

art:

finished & submitted work for 2 shows & delivered this week.

one was a digital abstract collage that will be in a show that opens at the monterey museum of art in about 2 weeks. it is a spin off my landscape 5c (i titled it landscape 5d). think has a asian sensibility to it.

the other is a paint >to digital > to print (color gloss photo) > to paint that went to the pacific grove art center for their patron show. means this was a donation & will go to someone who pay $50 for a ticket. i like this place> am not a member, yet have attended many openings there & drank their wine/ate their food. think they do a huge service to the community & the arts. the title of my painting is "study for triad" as i am doing a larger one of this also & may go even bigger.

pick up stuff coming off a show & deliver more this friday. had one that is un finished i had planned to enter, yet not sure if there is time.

work this week for artist norman foster. need the $$, enjoy the work, his company, his dog, his awesome studio, ,nice music, & learning/improving art related skills. timing not the best for my paper & painting, yet life & bills have always found a way to get in the way of school/art.


school stuff:

working hard on the paper due friday. at the moment i am gathering/typing notes, quotes & creating my mla resource/citing pg. i do better when i organize it all up front>>> more logical & less editing later.

ordered books on list for jan08 crit theoryII (used) at amazon.com & should get next week. realistically do not think i will be touching them until after my semester stuff is finished (mid december). papers, exhibition plans, final tweaking, packing & shipping to be there by jan, takes time. not to mention xmas with offspring, parents et all.

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art dvd>>> rolf & fondy: to care

1hr, 2006, got from netflix

netflix blurb:

Video artist Scott Pagano and electronic musicians Mirco Uguccioni and Maurizio Ottavi (aka Rolf & Fonky) joined forces to create this collection of abstract, moving artwork that blends 3D and algorithmic elements with a complex musical soundtrack. Numbering eight in all, the individual art films explore the concepts of form, color, light and density while pushing the boundaries of what one would consider "art."

i would describe this to a buddy as a photoshop montage in motion to techno/rave type music. could see this (minus music) on a big screen in a slick, lowlight big city club/bar. engaging, yet one would not get distracted by bar conversation (& miss a storyline,plot,key dialog)= good background/atmosphere that beats the hell out of a tv show or music video. would be cool on numerous screens around a place out of sequence to other music.

each is sort of a motion painting>>> like seeing an image series of one subject/composition & all the variations/tangents in sequence. no real beginning or end & almost every frame would look great as a still image.

have thought of doing this stuff yet stressed out over long render times & lack of $$$ to buy the right equipment to pursue this vision. maybe cheap/affordable now? need a new lifetime to mess with motion.

like:
that there is no narrative per se & that their theme is constant. basically a beautiful girl that has been filmed & then this film is cut up, layer over itself out of sequence + the heavy use of overlays of color pattern, adjustment layers. the music works, yet gets tedious/annoying in a hurry.

half of the compositions are without the chick, & almost all seem to be completely virtual in construction, abstract, yet have a architectural quality/referencing i like. if you are familiar at all with random art that last sentence probably makes more sense (go to: random-art.org).

not like:
the tempo is constant>>> while i get why, over time for me, it gets too "strobe-ish"(might trigger an epileptic seizure in somebody).

would like to see this idea done with a slow/sensual motion/tempo>>>more like watching a fishtank & easier to get lost in.

how it relates to me:

keeping current, awareness of our "now" so that somehow what i create will be "truly of my time." + will know what someone is talking about should this genre come up in a school discussion.

studio stuff

thoughts on "totem" piece:

mentioned earlier (in post about mentor crit), i had push-pinned 7 of the paintings (over digital on paper) to the wall with the intent of creating a collage.

after 6 days of viewing them i have found that i liked some more than before. on 2 i feel they would be awesome on a large scale. the rest are good, yet do not represent anywhere i want to go in the future>i learned/explore & that was enough.

now:

i want to take 4 of the images to use for the totem. rather than jump in & cut/collage, i am scanning them in to brainstorm digitally. i have an idea that involves horz strips systematically mixed in a vertical composition. all paintings are the same size. thinking having them like flaps & may paint the backsides in a manner that adds dimension to the work. think i may want the flaps not to lay flat to expose the backside/underbelly.

the other 3 paintings are dif size, yet relate to each other. may collage or use them as underpaintings to build up with a lot of transparent glazes. the hope being that the underpainting will be apparent upon close examination>>>part of the "payoffs at various viewing distances" i favor in art.

other:

cking out the cost of printing out multiple color kinko banners to mount to fabric & paint on. they would all be horz & form a single work. reason for this: sound interesting, is reletivly economical & would be easier to ship. i had soooo much damage last time that i want to stay away from anything rigid this session. + this is all new to me & i get to expand my material experience on this. they would form a single mural or scroll of sorts?

reading:

shalain's sex, time & power: How women's sexuality shape human evolution:

extremely interesting >>> as is all his books. so far, it has me focused on how we perceive/filter info & the diversity in the results based on biological factors.

wjt mitchell's picture theory:

this book has me thinking of art as an iconic language, which i did before, yet mitchell is bringing more to it than i have encountered before.

how will i use this? more awareness=more able to actively choose my message through image (or at least prevent miscommunication or convolute more effectively).

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crit theoryII list

Imprint/Index/Trace/Mark/Photograph

AIB Critical Theory II Seminar January 2008

Michael Newman

Course Description

The use of techniques of imprinting and casting from the body and from objects has been pervasive in modern art. Introducing ways of engendering objects independently of controlling intention and open to chance effects, such techniques lend to the thing a traumatic immediacy and raise questions of the relation between life and death, presence and absence, mourning and the uncanny. The imprint has also been used as the basis for an alternative to an art history based on representation and idea. The index, a sign physically related to its referent, has been proposed as the basis to link sculptural practice of the 1970s to a model based on photography. The class will follow four threads: First, a consideration and critique of the idea of origin, and its relation to the mark and the trace; second, a consideration of the relations between mark, sign and trace; third, the implications of the trace and imprint to life and death, with a particular focus on casting and the photograph; and fourth, the trace considered as trace of the other and of the feminine.

Requirements

A. The texts are required reading for the class. You will be expected to participate actively in a discussion of these texts.

B. A short illustrated presentation in class related to one of the readings

+++ = available as download

Three books need to be purchased.

Session 1: The Trace in the Origin of Drawing

Reading:

***Pliny, Natural History: Books XXXIII-XXXV, ed. G. P. Goold, trans. H. Rackham, 1995 ed., X vols., vol. IX, The Loeb Classical Library (London: Harvard University Press, 1952), Book XXXV, 151-152 according to the paragraph numbers to the left of the Latin text); also available in Pliny the Elder, Natural History: A Selection, trans. John F. Healy (London: Penguin, 1991), p.336, §151. A complete translation of Pliny's Natural History is available online at [Note: their server is currently down]

+++Michael Newman, "The Traces and Marks of Drawing" in The Stage of Drawing: Gesture and Act, Selected from the Tate Collection, edited by Catherine de Zegher, London: Tate Publishing and New York: The Drawing Center, 2003, pp. 93-108.

Session 2: The Index, Stain, and Sign

Reading:

+++Rosalind Krauss, "Notes on the Index" in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Mass. and London, England: MIT, 1985), pp.196-219.

+++Georges Didi-Huberman, "The Index of the Absent Wound (Monograph on a Stain)," October, Summer 1984 1984

+++James Elkins, On Pictures and the Words That Fail Them (Cambridge UK: Cambridge University Press, 1998), Chapter 1: "Marks, Traces, Traits, Contours, Orli, and Splendores", pp. 3-46.

Session 3: The Relic, Life Cast, Death Mask and Photograph

Reading:

+++Sigmund Freud, "Mourning and Melancholia," Standard Edition, Vol. 14, pp.243-258.

+++André Bazin, "The Ontology of the Photographic Image", in What is Cinema? (Berkeley: University of California Press, 1967), pp.9-16

BUY: Roland Barthes, Camera Lucida : Reflections on Photography (New York: Hill and Wang, 1981).

Session 4: The Trace of the Other and of the Feminine

Reading:

+++Emmanuel Levinas, "The Trace of the Other," in Deconstruction in Context, ed. Mark Taylor (Chicago: University of Chicago Press, 1986)

+++Edward Casey, "Levinas on Memory and the Trace", in J.C.Sallis, G. Moneta and J. Taminiaux eds., The Collegium Phaenomenologicum (Dordrecht: Kluwer, 1988), pp.240-255.

BUY: Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: The University of Chicago Press, 1993)

Buy: Julia Kristeva, and Toril Moi, The Kristeva Reader (New York: Columbia University Press, 1986), read section I, "Linguistics, Semiotics, Textuality" esp. pp.62-136.

+++Michael Newman, "Imprint and Rhizome in the Work of Cristina Iglesias," in Iwona Blazwick ed., Cristina Iglesias (Museu Serralves, Barcelona, Whitechapel Art Gallery, London, and Irish Museum of Modern Art, Dublin, 2002-03), pp. 121-164 [availabie as author's MS]

aib agenda update

jan08 residency:

arrangements are in place to travel & share room with group buddy from this area!

readings for next residency:

got email with new reading list for critical theory II.
instructor this time will be:
michael newman (ex-brit,chicago art institute instructor/historian/writer of books)

need to buy 3 books on the list (rest is published & mailed out by aib)

opening

went to the opening of the juried art show i had 2 images in last night. nothing new under the sun... did feel i lucked out on the placement/lighting of my 2 paintings. the food was less than hoped for given the amount of fee charged.

sfi mentor meeting

met with my aib mentor glenn hirch on wednesday at the sf art istitute where he teaches.
he was awesome>>> gave a lot of insight, posed questions & directions for this next leg of images to create.

took in 26 paintings & 2 printout of digital images.

i feel i did a good job fleshing out the options on my assigned agenda & have a good feel of where to take it next.

some of this will involve trashing/reprocessing a good chunk of the work i just completed. although they are done, i want to take them somewhere else. this means i will document what i have done up to this point so that if my future efforts end in total destruction 9which is perfect ok) i will have my ass covered & not show up empty handed in jan 08.

one of these trashing will be to reprocess a blue-y-g dig-paint triptych (each 2'x2) with clear gesso texture & my infamous tobacco/nicotine tint glaze. having been working with blue glazes (which i could never embrace) i am looking forward to getting down & dirty on these.

there are maybe 7 painting to use for a collage or sorts. i have them all on the wall & move them about throughout the day. next i will create a digital file to composite/montage them. think i will go for a semi-sequencial verticl scroll that goes from digital (top) to organic. think that i will cut off the black edges & then the blue/green images in to strips. doing it in photoshop will save me trouble/time on the troubleshooting upfrount before making any cuts. after that i may go over all with texture/paint glaze?

will print out & do more of the 30x30 or 36x36 dig stuff to paint on.

will experiment with the same stuff/processes on photo. am liking the new stuff a lot.

learned more about myself/style i am in at this time during the past few weeks & want to nail it for jan08.

all this stuff is tying into the scroll/narrative stuff i have done/mentioned in the past

as to how to write this stuff into my papers...

need to rest up after such an intense push the past 4 weeks. i had sore back,neck, swollen fingers/wrists, 7 new callouses from this spell. this is a good thing>>>means i am alive & have been busy!

will be creating new digital for output/paint. am thinking about murals/big scrolls now. installation objects as well.


have some great idea for presenting/exhibiting in 08 as well>>>need to look into costs :(

next deadline is a paper

next studio/mentor deadline: nov 14 at sfi.

stash 6 pack: 5: discs 6 & 5

this stash series is becoming an addiction for me & i am glad of it!

wish i afford to buy subscribe to this monthly dvd magazine

i like that i am often laughing, or in awe by skill, imagery or concepts presented in this dvd magazine.

i like that most are non-verbal and often come from non us/western mindsets . due to technology so much art/tv seems to be homogenated visually these days.

upon reflection, the psudo-underwater animation in disc 5 was one that actually sorta-kinda relates to what i do.

painting experiments

the more i look at my "clear gesso" is not gel medium mishap, the more i am like'n them.

for one, they have that veiled/obscured quality i rarely escape
&
the other is the potential lump wet sand nature/texture i see.

downside is consequence> no undo if i put it on one of my "nearly dones"
&
what i have there ties into each other really well.

could select the weakest link i guess?

yet i like the absence of color in the 2 images with the gesso on. may use these to test further. would be fun to see what a selectively applied gloss medium or gel would do to the image? or if the image had a gloss coat first to contrast the gesso? with color i think i would switch to a organic/dirt palette to reference origins/qualilities. i still have burnt bone,clay,ash,dirt in jars mixed with acrylic medium of some sort. i remember that the diversity in grit was a pain & now could be a blessing?that or environmental references. could through this stuff over ocean/beach image/prints. like a pic of just waves/ocean on an overcast grey day & no sky/shore in the image/ that with this wet sand stuff sounds cool. may work with stream/creek images too. think photographing water from above makes sound ideal. may go to a bridge & shoot down with a wide angle? know of a few...

online research

spent 4hrs seeking art online. mainly just looking to be surprised & to look for "the new." best deal for me was hooking into a saatchi gallery website that had an extensive global art gallery link. so, i visited gallery sites in many countries & found there was not really any geographical identity>>>in a new sense. homogenization due to technology has set in so soon? that is not to say one would not find cultural referencing, there was, yet not what i had hoped for. for one thing, most of the artists in the "less" mainstream countries were trained elsewhere. if in europe, they trained in uk & if asian they often trained in japan & oz or u.s. as for abstract paintings, same stuff/style that was going on in the 1920-40s. did find a few treats in berlin, zurich, & seol. thought i would find some in the scandinavian countries, yet not. the stuff i did like used new materials, or at least incorporated stuff that has been around a while in a new way. for example the use of plastics.

of course, as soon as i mention "new materials" the sol le witt's statement in paragraphs on contemporary art about confusing new materials for new ideas pops up & usually ruins the moment. yet, new materials are markers/identifiers for our "now">>>sort of time capsules. i look at some of the household refuse i used in mixmedia images in the past that do not exist in mercantile today>> like teabags tags, plastic binder on soda sixpacks, jetdry baskets.

anyhoo, a few of the ones i liked:

http://www.saatchi-gallery.co.uk/

http://www.haeusler-contemporary.com/index.php

http://www.annedevillepoix.com/main.html

http://www.galleryihn.com/eng/mainframe.html

http://www.art-center-berlin.de/deutsch/ausstellungen/frame.html

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after viewing, one thing i would like to try is working with metal, patinas/chem reactions & surface manipulations as paintings. having grown up in an investment casting foundry& machine shop i have the background for it>>> just not the tools/resources anymore. cutting into, welding, grinding to create surface relief/patterns/texture & then playing with toxic stuff /chemicals to color the surface has appeal. the stuff i have seen of this genre hardly touches the possibilities readily available.

translucent plasitic overlays or fiberglass cloth sewn to encase a painted object & then lighted/presented properly engaged me/looked like fun too. for me it would be play.

new books from the library

picture theory
by: william j.t. mitchell

mitchell is a u of chicago hotshot theorist on visual representation/ iconology/images & art as a visual language.

why i ckd it out:

is not on my list, yet felt i needed to know about this stuff. may not read cover to cover.


e-topia
by:william j. mitchell

guess how i found this book...

this guy is a hotshot from mit & this book appears to be about the impact of technology on culture & where it is going.

why i ckd it out:

part of being current/of my time. even if i do not use it directly, any new knowledge will translate somehow to my work & writing.

art shows

have 2 paintings in a local juried show. the opening is this friday
+
have been accepted into a group show at the monterey museum of art in a few months.
+
there is another juried show next month i plan to enter

----

went to an opening last week & was underwhelmed. too tired to comment.


need to buy new music to listen to while painting + get more audiobooks from the library as i have exhausted what i have.

thought paper & studio update

crit theory I paper:

glad i reread deborah email/agenda/dates on papers as i had been prepping for a thought paper based on my current readings. at least i have a jump on the next one.

submitted crit theoryI thought paper on due date . wish i had done it right after residency when it was fresh. however, do'n the review thing was interesting in that i am in a different place now due to the new readings/dvd, museum/gallery viewings, my studio work>>> sorta spun the info & my notes a little differently/gained more.

studio:

have been busy working on the digital paint stuff from the other direction. having explored numerous possibilities on taking painting into digital & creating digital for print & paint i am now outputting some of the paint/digital stuff to print.

did 2 36x36 color ($$$) for 2 images for midterm
&
have 14-18 bw prints (24x24>30x30) to use as underpaintings for acrylic.
have tried to take pics at dif stages for ref & trouble shooting/feedback? will post soon

did not mount paper to anything as a wanted to have the option of cutting/collaging or??? in the future.

all are sq & of the same palette.

only 2-4 were decided upon for the midterm, yet for me, i need to have more going so that i can chase tangents as they arise. think that is why i fell into photoshop so easily (layers& undo). i have a few going of the same image to explore sequencing in painting/glazing. so far i am not sure what i think.

may push some a bit further. struggle a little bit on what to keep or loose as i do not want to be just coloring in one of my digital images, yet if i loose the image>>>then what was the point? do i want to retain the identities of both mediums or is it just an internal process.

had two that i use transparent gesso on instead of glossy gel medium. liquitex clear gesso is not clear. well maybe if applied very thin. to me it looks/behaves like matt medium with fine silica/sand thrown in place of pumice or marble dust. the results are that 2 of my 36x36 bw prints had their images highly obscured.

transparency output:
still hunting around/researching options on the frame/electrical aspect to the backlit image idea. not sure if i even like the thought anymore. now the idea brings to mind those illuminated beer signs with that bear paddling a canoe down some mountain stream. my idea would work if it was really big. $$$ & not sure if this is the direction i want to go.

screen saver:
creating a screen saver was suggested by my mentor & is something i am looking into. i have never used them on my cpu >> so i need to get up to speed on this realm before i do more. i do have a fishtank screensaver on one of my desktops which i love. it came with it & has a fry's logo in in that has imprinted the monitor. the reason one has a screensave is to prevent this from happening). monitor calibration issues could be scary to deal with.

next:

now that the groundwork for this semester is done, the creation of exhibition stuff for aib is next.

will bring some of this stuff as required+ prints of what does not come (would be way too much & too big). glenn hirsch's perspective on this is that i should only show the final product & not the "practices. " makes sense & so i may have images,papers & blog book bound & display to show process/documentation of this semester.